Welcome to Commonworld, in the year 2143. It’s been built above the ruins of the old world, and the opening sequence of Sky One’s new interstellar thriller showed us the crumbling remains of Tower Bridge and St Paul’s Cathedral mouldering beneath glittering futuristic super-scrapers and sweeping skyways.

Unsettling, unremitting and psychologically stark, Klara and the Sun has all the hallmarks of a traditional Ishiguro novel. Dealing with his familiar themes of loss and love and the question of what makes us human, the book follows the "life" of an Artificial Friend (AF) called Klara, taken from her store of robot compatriots and left to navigate the complex world of human emotions.

Bliss gets off to a powerful start. Stressed-out Greg Wittle (an endearing Owen Wilson) is in his office, trying to do several things at once: draw his dream seaside home in great detail; talk to his daughter; renew his painkiller prescription by entering long lists of numbers in response to maddening robotic prompts, and get himself out the door to see his boss, whose assistant keeps demanding his presence with increasing urgency.

The Doctor (Jodie Whittaker) has a simple routine: she gets up at the same time every day, tramps out for her allotted hour of exercise, and spends the rest of the day staring out of the window, yearning for freedom. Sound familiar? That’s a bit worrying, she’s in prison. 

The last time George Clooney was in a space movie, Gravity, he and Sandra Bullock were marooned above Earth and desperate to get home. The Midnight Sky has the opposite dynamic: here Clooney is Earthbound, urgently trying to warn incomers to stay the hell away. As science-fiction premises go, it feels rather apt. 

Many have struggled to bring a new slant to the horror genre, but writer-director Brandon Cronenberg has managed it with Possessor, his second full-length feature.

Famous dystopian novels are reliably popular with TV adapters, so it’s strange that this is the first time Aldous Huxley’s treatise on a society controlled by technology and psychological manipulation has been turned into a TV series. Of course, these days you need a pretty good fictional dystopia to surpass the one already running amok outside your window.

There are films to meet every taste in theartsdesk's guide to the best movies currently on release. In our considered opinion, any of the titles below is well worth your attention.

Enola Holmes ★★★★ Millie Bobby Brown gives the patriarchy what-for in a new Sherlock-related franchise

Beavis and Butthead’s vicious grunge-era gormlessness remains interred, Wayne and Garth (and their stars’ careers) are too superannuated to revive. But here are the slightest of Gen X’s idiot double-acts, back again to save the universe in a time-travelling phone-box.

Could you cope with spending three years away from your family and loved ones while you went on the first crewed mission to Mars? This is the question that underpins Away, Netflix’s new space exploration drama.